The 007 Diaries: Filming Live and Let Die

by Roger Moore, David Hedison (Foreword)

Out of print for over forty years, this limited edition of The 007 Diaries introduces Roger Moore’s James Bond Diary to a new generation of fans.

To tie in with the release of his first James Bond film, Live and Let Die, Roger Moore agreed to keep a day-by-day diary throughout the film’s production, which would be published just ahead of the premiere in July 1973.

From his unveiling as the new 007 in 1972 through to his first scenes on location in New Orleans and his final shot in New York, Moore describes his whirlwind journey as cinema’s most famous secret agent. Taking in the sights of Jamaica before returning to Pinewood Studios, Moore’s razor wit and unique brand of humour is ever present. With tales from every location, including his encounters with his co-stars and key crew members, Moore offers the reader an unusually candid, amusing and hugely insightful behind-the-scenes look into the world’s most successful film franchise.

Genres: Biography, Media Tie In, Nonfiction, Film, Autobiography, Memoir, Espionage

234 pages, Kindle Edition

First published July 6, 1973

About the author

For the fantasy author/RPG writer see Roger Moore; for the photographer see Roger “Mzungu” Moore; for the poet see Roger Moore, and for others see Roger Moore

Sir Roger George Moore, KBE was an English actor and film producer, perhaps best known for portraying British secret agent James Bond in seven films from 1973 to 1985, and also Simon Templar in the TV series The Saint from 1962 to 1969. He received a star on the Hollywood Walk of Fame in 2007. A UNICEF Goodwill Ambassador, in 2003 he was knighted in recognition of his humanitarian services, in 2008 appointed a Commandeur of the Ordre des Arts et des Lettres by the French government, and in 2012 awarded an honourary doctorate by the University of Hertfordshire.

Reviews

[Bill · Rating 5 out of 5]

Way back in the 1970s, when I was still at school, I bought a paperback of Roger Moore As James Bond 007. Over the years I've read it quite a few times & my copy is a now a bit worn & faded. This new hardback, limited edirion, of the book is very nicely presented. As well as a new introduction from David (Felix Leiter) Hedison there are some very welcome additional photographs from the making of Live & Let Die. The publishers have even reproduced the film's poster on the inside boards.
Long before the internet & DVD & bluray documentaries this was a very rare source on the detailed making of a major film.
If you've never read it before then check out this highly informative & amusing film diary from the legendary Roger Moore. If you have read the old edition & enjoyed it as much as I did then add this wonderful new version to your collection.

[Mark · Rating 4 out of 5]

Sir Roger Moore a jewel of the EON crown he was undoubtedly the best ambassador of the 007 series and even Daniel Craig has strong feelings about this gentleman and his first movie in the guise of James Bond 007.

In this book Roger Moore relates about his adventures filming the "Live and let die" his debut for the 007 series and his does this in his usual wicked way for anybody wanting the dirt on anybody I am afraid Roger Moore is not your writer, he does not mention anything that could cause any scandal or insult.

This book is a beautiful re-print in Hardcover and some decent attention has been given with his friend and Felix Leiter from LALD as introductory for the new release of this biography.

The stories will not be as grand if you'd expect them to be, Moore is a gentleman and keeps the tone light and informative. He makes being a movie star look like a simple thing but his charisma made him the popular person he still is today. His 007 movie starting with this one seem to be so much fun today with the franchise taking an darker course currently.
Roger and his antics represent a time in which the world was friendlier and simpler and making a 007 movie cost 8 million and this one delivered 128 plus million, so clearly a large profit.

I can never hear enough from Roger but with his demise we are left to his oeuvre of movies and books that have been released.

He shall be sorely missed. Thank you for another few hours of Roger Moore.

[Fred Klein · Rating 3 out of 5]

This is really only for Bond fanatics, Roger Moore fans, or film students. What it shows is how boring making a film is. It sounds excruciating.

[kesseljunkie · Rating 5 out of 5]

What a magnificently intimate accounting of Sir Roger Moore’s work on his first Bond film, “Live and Let Die.” Moore’s innate charm and self-deprecating wit are on full display and I feel like I understand not just the moviemaking of the era a little better but the man himself.

What a light he was in the world, and what a positively charming man. I enthusiastically endorse this work for any Bond fan and any film fan, and think even those with a passing curiosity for history will enjoy an unguarded look at the world from not so long ago.

A moving foreword and valuable afterword make this even more memorable. I frequently part with physical works after I read them, but this will remain a treasured part of my collection.

[Em · Rating 4 out of 5]

Papa. Me want more book.

[Sally Smith · Rating 4 out of 5]

Surprisingly, not as sexist as I'd expected. Just a little, and not toxic like so many are online nowadays. Also surprisingly anti-racist; this film had many Black cast members and Moore praises the talent of all of them. And he understands why Harlem had riots back then, unlike a lot of well-to-do white folks then and now.

He also liked working in the US, and the story stops at any point to tell a tale of his working with and befriending a lot of golden age Hollywood and British types, which are charming. He never says a bad word about anyone -- he only mentions bad behavior by unnamed persons. He does come down hard on unprofessional behavior, and doesn't stint on describing his own aches, pains, and doctor/dentist appointments sustained during the filming. Or the times he was really frightened -- by speedboats, alligators, and other hazards of being 007.

Old-school charming.

[Mark · Rating 5 out of 5]

I picked this book up in 2003 at a Toy Fair, read it then and loved it. I decided to read it again, following Sir Roger’s passing and what a treat it was.
This is Roger Moore’s diary of his time making Live And Let Die - we don’t get anything from before production began and we don’t get anything after production ended, but we get absolutely everything between those two points. Where now a lot of behind the scenes material (which I love to read) is either tactful or adheres to the company line, this takes no notice of that. Moore discusses race relations (both on set and with the locations), needles his producer for being cheap, gets on well with the crew and his fellow actors (most appeared to have worked with him in the past) and yet isn’t afraid to portray himself honestly - he loses his temper on occasion (sometimes at the production, more often at himself) and argues with his wife. Remarkably candid and told with the wit he showed in his autobiography and his live shows (two of which I was lucky enough to catch), this presents a man who enjoys what he does (and realises how lucky he is), wants the best for people (he’s often aghast at how Harry Saltzman treats people in restaurants), clearly loves his kids and takes great pride in his charity work for the Stars Organisation For Spastics (of which he was patron). There are also lots of wonderful “talking of which reminds me of…” moments too and some great insights into the normality of his life - on leaving Jamaica for the Christmas holidays and starting work at Pinewood; “I am looking forward to Sunday papers, English marmalade, frosty mornings and seeing my mother and father.” Being a diary, we also get a glimpse into his social life as he entertains (or is entertained by) various famous people and even gets star-struck himself (such as meeting Deborah Kerr in a restaurant). The book also features 8 pages of colour photographs, some of which are production stills, some of which are candid ones by Luisa Moore. Funny, insightful, smart and informative, this is a fantastic read and if you can get hold of a copy, I’d very much recommend it.

[Gregory Melahn · Rating 2 out of 5]

I read this book because I was a theatre manager when this movie was released in the Summer of 1973 and I was feeling nostalgic.

I found it was tedious and repetitive. The only interesting bits were some of the technical details of how they put together the action shots in the film.

[Kara · Rating 4 out of 5]

“The 007 Diaries: Filming Live and Let Die” is a fun, ultimate insider’s view of the filming of “Live and Let Die” nearly three decades ago. During his first outing as James Bond, Roger Moore kept a daily diary. A book was published in 1973, and earlier in 2019 the book has finally made it to audio.

This was a fun book to listen to during a road trip. Since there wasn’t really a plot that we had to pay attention to, we could converse during the story and only pay attention during particularly interesting sections…of which there were actually many.

As you’d expect from a James Bond personality from the early 70s, there is sexism and racism that sounds, and was, very inappropriate…but was also the norm for that era.

Many of us hadn’t seen the actual movie, but we watched it together soon after the road trip. 4* for “The 007 Diaries”.

[Esther* · Rating 2 out of 5]

This is definitely a niche book, but as I am a life-long follower of all things James Bond-related, and also love a good behind the scenes insight, it was my kind of thing. Roger Moore’s perspectives are fairly cringy to read fifty years later, but it’s a true reflection of the attitudes of the time. It shows the real glamour and also the contrasting moments of ordinariness that went into movies in the seventies, and what it feels like to step into one of the most famous movie characters in history - I’m glad that these diaries have been captured and shared.

[Rob Thompson · Rating 4 out of 5]

Roger Moore's James Bond Diary by Roger Moore

Roger Moore's James Bond Diary is an account of his filming the movie Live and Let Die and was published in 1973. The book opens with an acknowledgment to Sean Connery, with whom Moore has been friends for many years: "I would also like to thank Sean Connery – with whom it would not have been possible."

This pun really sums Sir Rodge up and sets the tone for the rest of the book.

Being a big Bond fan, and also a big Sir Rodge fan (check out his recent books and autobiography, they’re very good) I picked up this curiosity of a book from eBay for a couple of pounds. Its written in his usual dry and witty style and was thoroughly entertaining. There’s not a great deal of depth to it, for example there were no profound insights into his acting method, characterisation, effect of working on location on relationships and family, etc rather its a straightforward account of filming a Bond movie; the day-to-day grind, pressures and frustrations. What I picked-up from the book is:

- Rodge knows everyone; to him networking and socialising is critical and he probably rather enjoys it
- He’s a professional: he turns up for work, delivers his lines and is clearly doing a job which he loves
- He seems to be prone to illness both real and imagined
- He understands the value of money and how much he is worth
- He uses humour to try to put others, and possibly himself, at ease and he definitely doesn't take himself too seriously

You get the impression that Rodge was rather shocked at being cast as Bond, especially as he was in his mid-forties at the time (Bond is portrayed in his early to mid-thirties in the books) and in real life Sir Rodge is definitely not an action hero. So, in summary a light-hearted and easy read which records each day’s shooting, and includes insights into the other activities which occur when the cameras stop turning.

[Mark · Rating 5 out of 5]

To start, I should say that I was a huge fan of the late, great Sir Roger Moore. I picked this up in 2003 at a Toy Fair, read it then and loved it. Jump to 2017 and, on hearing of his passing, I decided to read it again and what a treat it was.

This is Roger Moore’s diary of his time making Live And Let Die - we don’t get anything from before production began and we don’t get anything after production ended, but we get absolutely everything between those two points. Where now a lot of behind the scenes material (which I love to read) is either tactful or adheres to the company line, this takes no notice of that. Moore discusses race relations (both on set and with the locations), needles his producer for being cheap, gets on well with the crew and his fellow actors (most appeared to have worked with him in the past) and yet isn’t afraid to paint himself honestly - he loses his temper on occasion (sometimes at the production, more often at himself) and argues with his wife. Remarkably candid and told with the wit he showed in his autobiography and his live shows (two of which I was lucky enough to catch), this presents a man who enjoys what he does (and realises how lucky he is), wants the best for people (he’s often aghast at how Harry Saltzman treats people in restaurants), clearly loves his kids and takes great pride in his charity work for the Stars Organisation For Spastics (of which he was patron). Being a diary, we also get a glimpse into his social life as he entertains (or is entertained by) various famous people and even gets star-struck himself (such as meeting Deborah Kerr in a restaurant).

Funny, insightful, smart and informative, this is a fantastic read and if you can get hold of a copy, I’d very much recommend it.

[Tony · Rating 2 out of 5]

This book is a reasonably entertaining, light-hearted account of Roger Moore's experience of filming Live & Let Die. It's - usually - upbeat.

It's a bit politically incorrect, especially when it comes to talking about women but that is a sin of the time it was written I suspect.

Roger Moore is an actor with an awareness of his own limitations and has an ability to laugh at himself, which means even when he's talking about another dinner with the rich and/or famous you don't find yourself too irritated by it (or him.)

It is interesting to note how many risks the production seemed willing to take with Moore's health and safety. Or, indeed, Jane Seymour's.

As a writer once said: 'The past is a foreign country. They do things differently there." If you have an interest in Bond (or in movies in general) it is worth a read but I wouldn't say it is a book for the ages. But you'd be surprised if it was really wouldn't you.

[Ed · Rating 3 out of 5]

Since this is just back in print after 45 years, I was excited to take a look. This is the best insight we'll ever get into the day to day mechanics of a Bond production and who else but Roger Moore would do it. On that basis, it is interesting to see how the proverbial trains ran back then. Moore is as ever, self deprecating and funny. The book is somewhat disclaimed as being 45 years old so some language that would never fly remains intact, which is nothing if not interesting. However, even as a hardcore Bond fan, this did get dull as it is just someone's diary. I also wish Moore had picked it up again when the movie came out but I guess that's nitpicking because I know it was successful. I guess I really wish that Moore had done this for the next six movies but you can't have everything.

[Oh Captain · Rating 4 out of 5]

Not as witty as his later biographical works, but nevertheless an entertaining read. Sir Roger walks us through the highs and lows of film-making in the early 1970s; the tedium, the wind-ups, the race-relations and family affairs, the injuries and illnesses, the tantrums, the crocodiles, the stars and starlets. Probably worth more to a James Bond fan, than any casual reader. I enjoyed it a lot.

[Jason · Rating 3 out of 5]

Nothing earth shattering in this. Some of the behind the scenes tidbits were iinteresting. I now understand why Roger Moore stayed in the role for so long - what a life of luxury he had.

[David · Rating 4 out of 5]

I once again stayed up way too late another night last night to finish reading whatever present book I’ve been reading, in this case “Roger Moore as James Bond: Roger Moore’s Own Account of Filming ‘Live and Let Die’” (1973).

I really enjoyed this book, which is a day by day diary style account by Moore from his first days of shooting the movie to his last, and all of the many things that go into the making of a major motion picture like a James Bond movie and the many people involved in its making.

The first half of the book or more follows Moore’s shooting on location in Louisiana (mostly boat chases through the bayous and scenes in New Orleans) and Jamaica (where, among other scenes, the infamous Kananga crocodile farm scenes were shot). Then, just in time for Christmas, the first unit returned to England to begin several weeks of shooting at Pinewood Studios (for most of the movie’s interior scenes). Finally, for Moore and David Hedison (who plays American CIA agent Felix Leiter), several days of shooting on location in New York City, including scenes in some of the poorest and crime ridden neighborhoods of Harlem.

Moore agreed to record a daily account of all of this at the time so that this book could be released just before the movie as a promotional tie in. He details his encounters with fellow cast mates (like leading lady/“Bond girl” Jane Seymour and Bond villain Yaphet Kotto (“Mr. Big”)), Bond films producer Harry Saltzman, and director Guy Hamilton.

Even more interesting at times are Moore’s accounts of the head craft services person on location, George Crawford’s attempts to keep hundreds of film people fed each day and on schedule (including once even he accidentally *delayed* shooting for several hours when he accidentally took the car with Jane Seymour’s make up in it to go looking for food supplies, and another story of how, reluctantly, he had to turn over the chicken he was preparing for the film unit’s lunches when a refrigerator holding the raw chicken for a scene with the crocodiles got left off over night and the “crocodile bait” chicken went rancid; apparently even crocodiles won’t eat spoiled chicken).

Moore also details the many days that the weather wouldn’t cooperate, as well as his own various duties off screen such as interviews with various press reporters (the most common question being, “How will your James Bond be different from Sean Connery’s?”), still photography sessions, and promotional appearances.

Being a diary taken at the actual time of shooting, this book also goes into much more detail of Moore’s daily interactions with his wife at the time, Louisa Mattioli (which he was married to from 1969 to 1996), his children, and the personal friends and acquaintances he would spend his off hours with than Moore’s much later written memoirs do when he reflects in them back to this period of time filming his first James Bond film.

I highly recommend this book for fans of the James Bond movies and/or of Roger Moore, as well as those who would find it interesting to see just how a big budget, stunts and location shooting heavy movie of the early 1970s was made. (For instance, it wasn’t until his fourteenth day of shooting that Moore got to speak any real lines of dialogue, the two weeks prior to that having been mostly used shooting the boat chase scenes. Also, the headaches of trying to schedule the “royal premiere” date in London which required coordinating it with whichever member of the royal family who would be available to attend, something that American films—and even most British ones, I would suppose—would not have to deal with, but that is simply expected to happen with the release of a new James Bond.)

As I said, highly recommended, if you can find a copy. As this book came out nearly fifty years ago (1973), it is of course by now out of print. I got my copy to read via interlibrary loan with my local public library system (Tampa-Hillsborough Public Library) borrowing a copy for me from Salem State University Library in Salem, Massachusetts. Used copies can probably still be found online of either the first printings or subsequent printings (some under alternate titles like “Roger Moore’s James Bond Diaries” and “The 007 Diaries: Filming Live and Let Die”).

I give this a four stars out of five on GoodReads (and would probably give it four and a half if GoodReads as allowed for half stars in their ratings).

[Luke · Rating 5 out of 5]

Roger Moore was my first James Bond.

That’s not quite right. Ian Fleming was, as I had heard of James Bond and decided it was worth checking out some of his books from the library when I was woefully under the target age for them. But I remember discovering a whole series of movies through my parents (and a troop of babysitters). And being the ‘80s at this point, Moore was the go-to.



Of Moore’s tenure, two films still are sentimental favourites with me: The Spy Who Loved Me (which the actor considered his favourite outing), and Live and Let Die, his first time in the double-digits.

The 007 Diaries is Moore’s thoughts about the making of the film. It’s culled from his diaries, and was first released around the same time as the movie, though it was out of print until very recently. It is, to be delicate about it, very much of its time. I mean, before you get to any of Moore’s entries, there’s this helpful note.

In order to contextualise Sir Roger Moore’s wonderfully candid James Bond diary, we must remember that much has changed, both in the film industry and in society, since he wrote the book in 1972.

STRAP IN, FOLKS.

That said, it’s not particularly horrid: there’s just a dated sense of appropriateness: Moore’s an older military guy – everyone forgets that he was almost 50 when he first came to the role – and his mindset is very much pip-pip-eh-what crossed with theatrical luvvie. There’s some absolute clangers in here, but they’re more in terms with how women are viewed: though Moore is a subtle scribe, and mostly errs on the side of politeness.



What I hadn’t expected was how funny the writing was, particularly given that I assume it was meant to be for his own use. Moore has a stellar turn of phrase, and appears to know everyone in show business. He’s at once charming – talking about tea and marmalade as what he misses most on set – and then the next moment a leering confidant, telling you about the time Lana Turner wanted to make sure his dick was OK after an on-set mishap. He’s an old trouper, and the dry wit is as you’d expect: considered and sharp.

Here I was, just about to start playing James Bond, with no teeth. How on earth did I get myself into such a situation?

There’s a lot of good behind-the-scenes goss in here, too. If you want to know exactly how pants-shittingly terrifying it is to flog a jet-boat across the bayous, Roger will tell you. If you’re interested in the luxury of set life – a green plastic bucket for a bathroom – you’ll get that, too. Yes, there’s tales of card debts to producers and hatred of daytime TV, as well as tantrums over an inexplicable absence of All-Bran, but the thing that makes the book compelling is the sense Moore conveys of being aware how lucky he is to do what he does for a living.

Humble is not a word I would’ve ever thought to apply to Bond, but here we are. He’s a bloke with a desire to help people – his charity work is often mentioned, and reassuringly he’s as much in fear of public speaking as I am – and to bog in and get the job done. It’s a refreshing portrait, errant gallstones and all.

The tough guy was embarrassed about the nurse seeing his winkle. I told him what John Barrymore once said to Anthony Quinn: ‘How can I be proud of that in which every chimpanzee is my equal and every jackass my superior?’

Of course, there’s also the name dropping. I mean, how many other books talk about being added to the board of Faberge, or of staying in Cary Grant’s place while he was out of town? Or of hanging out with royals? Or about how a certain trio of European sisters shat him to tears? It’s all in here, but never more touchingly than in David Hedison’s introduction. Hedison, often mentioned through the book – he played Felix Leiter in the film – was a firm friend, and offers his own lovely tribute to Moore.



As I grew up I began to see Moore’s Bond – particularly given his tiresome later entries – as a bit of an embarrassment. But he was still the guy who made the character for me, so it was lovely to read this work and to discover that he was not exactly the smarmy git that I’d expected.

If you enjoyed the film, you’ll enjoy this book, and be surprised by exactly how much of the process of making the thing could be categorised as seat-of-the-pants. It’s good-natured, and presents the star at a point in his career when his focus was a) to be different from Sean Connery’s Bond and b) not to fuck it up. It’s honestly a delightful read, and has made me think that I might just have to grab a couple of his other memoirs, too.

[Ross Vincent · Rating 4 out of 5]

Roger Moore was my first James Bond. My father, forced to spend time with his children, decided that seeing a movie with his son would be the best way to spend 2 hours. So, he took me to see "Moonraker" ("It's like Star Wars. There are lasers and space ships and really tall guys").
I went in a neophyte - and walked out with a new idol and role model for who I wanted to be. Cool gadgets. Travel on planes. Ninjas. And guns. (I was still a few years away from the "Bond Girls" aspect. Or the espionage parts too). We left the theater, went to get a burger, and I talked about the movie for the rest of the day. (Dad would later go back home to Texas; when we came back home a few weeks later, he had recorded a couple of other Bond films off the tv and I got to see Sean Connery and George Lazenby as "James Bond". And the Great Debate began - who was the better Bond).

Over the next decade, I went from being a Bond movie fan to James Bond Fan all around - I read the books (both Fleming and Gardner), and played the role playing game. I would go with either Mom or Dad to see the new film when it came out (by the time Dalton took over, I was going by myself and enjoying it); and every "Sunday Night At the Movies" that had James Bond on, I was there. Engrossed by it.

That being said, Roger Moore is NOT my favorite of Bonds. He was my first - but by the time he left and Dalton came along, I wanted MORE Bond - not Moore's Bond. I want to see a Fleming Bond- beaten, bruised, battered and still on top of his game. Dalton brought that to his role. (In later years, I had the idea that the Dalton Bond was a continuation of the Lazenby Bond - the widower who lost Tracey on their wedding day, and who was all about the job and not about the ladies. Sure, it was the late 80s and Bond in the age of AIDS had to be more careful in his conquests. But why not also due to the loss of the one love of his life). I like Roger Moore - he was great in the early days (Man With the Golden Gun / Spy Who Loved Me) but when they started to make him a cartoon character, I lost it. Throw in his age (50ish fighting like a 25 year old and bedding down ladies of the same 25 year old) and it was hard to believe.

However, this book is the opposite - it looks at Roger Moore in the earliest days of him becoming Bond, James Bond. From day one of shooting "Live and Let Die" to the last day, it talks about all that went into shooting the film. The behind the scene issues. The thrills and concerns. (Remember - gator farm. Snakes. And boat chases!!!).

But more important, it was a glimpse at old school Hollywood, in the early 70s. Seems like every day of filming ended with Moore and wife meeting up with other glamorous and famous people- Michael Caine, Kirk Douglas, Sidney Poiter, members of the royal families of England, Europe and the Middle East, and international stars too. How evenings and dinners were spent talking with the Collins Sisters, or with his Costars and their spouses; benefits where Moore got joke Ideas from people like Peter Sellers and Benny Hill. (If I didnt know any better, I would say this was a name dropping book. But Moore doesnt strike me as a "Look who I know" as much as "These are my friends")

Since this is a year of No Bond (Curse you, COVID-19), I figured this was a close to a Bond film as I would get. And I am glad I did.

[Christoph John · Rating 3 out of 5]

Written during his eighty-four day shooting schedule for Live And Let Die, Roger Moore’s diary-style account of the filming for his debut as OO7 is a diverting, easily digested read. Moore’s style is pleasant on the eye and ear, jocular and polite. You do have an indication of the sense of fun he wanted to impart both to the role and behind the scenes, as well as being a good ambassador for the world’s biggest movie franchise. He accompanies the whole circus with a smile and some upper-class wit and charm. They used to call it style, I guess, but some of the proceedings sound a little childish, impetuous and impatient for that. His remarks about women, in particular their beautiful features, may have been well intentioned, but make him sound like a voyeur.

If you’re interested in James Bond films, this is probably a must read. It gives away few secrets – Moore is ever so discreet – but you do get an indication of how involved everyone of the film crew is on the project, how it isn’t only the actors who matter, how the gestation of a film-family-unit takes over very quickly and how, as the star, Moore is expected to engage in promoting the ambience on set. Of course, the author can only talk about scenes and days in which he is featured and the wider story of his recruitment and that of the cast is glossed over. There’s a slightly mad-cap feel to filmmaking in the early seventies and this comes across vividly.

Perhaps the most notable aspect of the diary is the record of Roger Moore’s private life. Not the inner personal details, but the socialising. He has friends in every town and entertains at length numerous famous and not-so-famous individuals. The number of dinner parties, theatre shows, nights out, weddings, birthdays, etc that he and his wife attend is staggering. Even when he dines alone with his wife, there are famous acquaintances on neighbouring tables. His interpretation of James Bond as being recognised in every barman in every city was surely an ironic statement about his own imbibing. The man’s on the G&T every single night and often at lunchtime. I’m amazed his liver held up. The alcohol consumption is staggering and the number of times he claims to be nursing a hangover while working makes you wonder [or realise?] how he made his James Bond seem so effortlessly cool in any crisis…

[anolinde · Rating 3 out of 5]

This was a really interesting (and sometimes pretty wild) book. I made sure to watch Live and Let Die before I started reading it, since I had never seen it before, and I'm glad I did because it was so helpful to be able to visualize all the locations.

There were a lot of fascinating details about the way race played into the film. Given the plot of the movie and the decade in which it was made, I wasn't surprised by how, erm, questionable some of it was. I did some research and found out that it was made when "blaxploitation" films were really popular - these were movies that emphasized stereotypes about black people, yet were notable at the time for having mostly or all-black casts.

Roger Moore was unexpectedly not racist for a white Englishman living in the seventies, and he noted that Solitaire (ultimately played by Jane Seymour) was originally supposed to be played by a black actress, which would have made so much more sense given the context of her character. He also mentioned that his wife, Luisa, informed him that certain women in their Louisiana social circles had confided in her that they would not be seeing the movie if James Bond made love to Rosie Carter, a black Bond girl; Moore's response was that this made him all the more determined to proceed with it.

Also, like super randomly, Moore drops this tidbit:

Jim Garrison, the District Attorney of New Orleans, who conducted his own investigation into the assassination of Kennedy, invited me, along with a couple of FBI agents, to his office to view some film. I am not at liberty to disclose what I saw but it left no doubt in my mind that it was not Oswald who fired the fatal shot. Garrison’s assertion is that Oswald was not acting alone but as part of a CIA conspiracy.

Um, excuse me, what?? (The subject is never visited again.)

So, all in all, an entertaining read and a fascinating look at the behind-the-scenes shenanigans of the cast and crew. I wish there were more diaries like this out there for other movies!

[ManOfLaBook.com · Rating 4 out of 5]

For more reviews and bookish posts visit: https://www.ManOfLaBook.com

The 007 Diaries: Filming Live and Let Die by Roger Moore is a day-to-day diary of the filming of the James Bond movie. Mr. Moore, the third actor to portray 007, is writing about his experience in making his debut is Ian Fleming’s famous secret agent.

This book, for James Bond and film fans alike, is a window into the mind of a relatively unknown actor about to be thrust into stardom. Roger Moore, a TV star, suddenly finds himself center stage as the world’s most famous spy. Juggling his newfound fame, his family, and public commitments is a challenge. And the movie didn’t even open yet.

Mr. Moore, knowing his world is about to change, chronicles the making of Live and Let Die every day he was on the set. He knows that what he’s doing isn’t serious, but he takes his job seriously battling anxiety, health issues, publicity commitments, and more.

When reading The 007 Diaries several things become plain as Bond’s villain’s plan. Roger Moore is still finding his voice as a writer, making movies is boring, every meal in the 70s included drinks, and it’s still relevant.

Mr. Moore’s charm, self-deprecating humor, and wit are present on every page. At the same time, he keeps most of the sexist comments to a minimum but does not mince words when it comes to his distaste for racism. He even criticizes Bond producer Harry Saltzman for his treatment of restaurant staff. And that takes some guts.

The book is surprisingly honest. Moore loses his temper at the productions, argues with his wife but appreciates his hand in life. He loves acting, loves the people he works with, mingles with the rich and famous, and takes a lot of pride in the charity work he does. I especially enjoyed how he was star-struck sitting at a restaurant next to Deborah Kerr.

This book is funny and entertaining, but it’s best read in Moore’s voice. My understanding was that the plan was to write one for every Bond movie he made, it is a loss to us all that it never happened.

[Robert Garrett · Rating 5 out of 5]

Much was riding on the film LIVE AND LET DIE, released in the summer of 1973. Roger Moore was debuting as James Bond, following the departure of Sean Connery. Would the public accept the change? Certainly, Connery cast a long shadow, as Moore often acknowledges in this diary, maintained during the film’s production. Nonetheless, he is clearly thankful for the opportunity. In the acknowledgments, he writes, “I would also like to thank Sean Connery - WITH whom, [this] would not be possible.”

Why did Moore keep a diary of his first Bond film? The back cover text tells us that he had “agreed” to do it and that the book would be “published just ahead of [the movie’s] premiere.” My copy is of a 2018 reprint of the original 1973 edition. Moore’s daily entries cover 84 days of filming. The entries are generally brief, and the whole book measures a small 5” x 8” and totals a mere 224 pages. To be honest, I didn’t expect much substance, especially since Moore presumably kept the diary as a publicity tool for the movie.

Surprisingly, then, Moore is actually quite candid at times. He notes a few moments of racial tension on set, for example, as when Black stuntmen object to White stuntmen doubling for Black actors, and when his co-star, Yaphet Kotto, gives a “Black power” salute, to decidedly mixed reactions. There are also anecdotes in which Moore’s boss, producer Harry Saltzman, doesn’t come across particularly well - as when Saltzman proves a difficult restaurant patron or throws his weight around on set (At one point, Moore explains that the crew is filming the movie’s funeral scene on a New Orleans street, when Saltzman tells “a man standing on a doorstep” to move on. “Who are you?,” the man asks Saltzman, in Moore’s recollection. Moore records Saltzman’s reply as “This is my film” and the man’s retort as “This is my house.”). Moore even reveals that his own six-year old son considers Sean Connery “the real James Bond.”

Of course, that latter revelation is also an example of Moore’s famed self-deprecating humor. In general, Moore had wit and charm, and both are clearly on display here. I’m among those who think that Moore’s light hearted approach to James Bond was wrong for the character, but I’ll concede that he won me over in this diary - as a real person, if not as James Bond. How can you dislike a man who seems to appreciate those around him and so easily sees humor in every situation (He jokes, for example, about being injured in stunts, continually losing at gin rummy to Harry Salzman and filming love scenes with Jane Seymour.)? Those who ARE a fan of Moore’s Bond should positively love this book. As a bonus, we learn some details of Moore’s private life, as he writes about his then-wife and children, his medical issues during filming (He had a bout of kidney stones.) and interactions with celebrity friends such as (to name a few) Michael Caine, Kirk Douglas, Joan Collins and his LIVE AND LET DIE co-star David Hedison.

Mind you, many Bond fans will simply be interested in the behind the scenes details of LIVE AND LET DIE. Certainly, this was the big draw for me, and I wasn’t disappointed. I learned about different personalities (It turns out, for example, that Jane Seymour is a self-described “giggler,” and director Guy Hamilton is an avid golfer.), and about how, where and in what order LIVE AND LET DIE’s scenes had been filmed (Spoiler warnings apply, incidentally!). While an essay, interview or DVD commentary might provide some of the same information, they all typically provide it in highsight, lacking the immediacy that a primary source such as this brings. I’m not aware of any similar diary existing for any other Bond film, making this an especially unique item.

While I wasn’t initially expecting much from Moore’s diary, then, I found myself pleasantly surprised and glad that I read it. I highly recommend it for any fan of James Bond and/or Roger Moore.

[Dave · Rating 4 out of 5]

Another one of those rare historical relics – a spin-off effort designed to supplement the movie, but an authentic, honest, warts and all piece of work – not a sterile, sanitized, polished, studio-mandated “making off” puff piece. I mean, when I say “warts and all” – Rog is too much of a gentleman to truly dish the dirt. The furtherest he goes is disparaging tardy restaurant service and the like. Sure, he comes across as an upper-class toff, with a distinct lack of awareness of how entitled he is compared to the bulk of the world, dropping lots of famous names and stuff about his country estate, finest restaurants and European holidays. But mostly, he comes across as a bloody hard worker and a truly nice man, with plenty of self-deprecating tales of his time on the Live and Let Die set. The book truly IS a diary though – for better or worse – it’s got plenty of (relatively) dull bits above what time and where Rog wakes up, what he has for dinner, who he has dinner with. Within the chaff though it plenty of fun stuff about the actual making of the film, both the tedious, the difficult, the painful (back injuries, tooth emergency), and the true meat for fans of the film – the actual FILMING of scenes like the crocs, the bus, the romance. You’ve go to sift through a lot to get to that though. The book works a true insight into the making of Live and Let Die, but that’s the least of it. It works better at showing the state of early 1970s Hollywood filmmaking. And it works best of all and showing what a freaking legend Roger Moore was, off screen as well as on.


7/10

[Hannah Edmonds · Rating 4 out of 5]

This book was a really interesting, firsthand look at how films are made. It sounds like a very stressful, unpredictable but ultimately rewarding experience.

Live and Let Die was Moore's first Bond film and I love that he was excited enough about playing Bond that he decided to keep a diary. His wit and charm are as evident as ever as he writes of his silly practical jokes and the ways he kept Jane Seymour relaxed during some of their more hair-raising scenes. There aren't many men like that around anymore.

I was surprised to learn how many stunts Roger Moore performed himself, having previously read that he didn't do very many. He did many of the boat and car chase sequences for this film, even using the boats outside of working hours to show friends and family around the Louisiana Bayous.

Despite his gruelling hours, it's very clear that Moore's growing family was his top priority as he flew his wife (then pregnant with their third child) and children out to be with him during filming on location.

This was a really enjoyable, interesting and laugh-out-loud funny book; I'm so glad I treated myself to it.

[James · Rating 5 out of 5]

This book is not for everyone, but as I am both a fan of the James Bond character and oral histories, I found there was much to ponder in this volume. While it shows the behind the scenes processes for how films like Live and Let Die are made in a scientific precise, yet piecemeal fashion - filmed in many locations and cut together over time, it also gives one insight into the international film scene of the time. Moore’s journaling mentions numerous actors, producers, directors, and other figures linked to stage and screen of the time and gives a sense of how closely things were running. The other side of the equation is that it also shows the racial and political aspects of its time. While these may be uncomfortable, a work that preserves them allows for one to better study the history of how these environments persisted in films and in societies more broadly.

So, not a book many may give five stars to, but for those that want a view of the problems of 1970s film production that touches on identities, locations, and more- this one buzzes along with a daily check in all throughout the making of the film.

[Laurel Jackson · Rating 3 out of 5]

This was a random interesting find a few years back and it finally had its turn upon a second attempt. To say its a such a slim volume, it wasn’t the easiest to dive into but did get easier the further into it I got. It is genuinely interesting and Roger Moore’s wit and humorous anecdotes made it worth returning to but I can’t say its a keeper. For me, that is, and bigger fans of James Bond will probably feel differently again.

NB: the rating given in this case takes into account my feelings towards keeping and reading it a second time around and not necessarily the content alone.

Warning in advance (should you read this): the language used may put off the easily offended but there is a disclaimer covering the publishers’ choices made in advance so it isn’t like you receive no warning whatsoever.

[Emma Dargue · Rating 3 out of 5]

I am in two minds about this book on one hand its a good behind the scenes look at what in my opinion is one of Roger Moore's better Bond films however on the other the humour in this book that shined in his other books falls incredibly flat due to the veiled references that are borderline offensive despite their being a publishers note explaining why they chose to publish the unedited diaries but this is not helped by an almost sychophantic end note by Gareth Owen who was his personal assistant/ ghost writer who almost writes an apology about some of the language and essentially tells us we should reflect on his legacy as an actor. However this doesn't decrease my feelings of unease about this set of diaries.

[Rob Vitagliano · Rating 5 out of 5]

The most fun I've had reading this year.

When I downloaded this a while back, I figured it looked interesting enough to take a flyer on, that "Live and Let Die" was one of, if not the first, James Bond movie I ever saw, and I always enjoyed Roger Moore's portrayal of the immortal secret agent. I had no idea I would eventually enjoy the book as much as I did. After a rather serious year, I thought I would close it out by reading something a little lighthearted. I was not disappointed by my choice. Filled with Moore's charming wit and self-deprecation, I cruised through this book while learning more than I expected about the topsy turvy process of making a film. I wish every book I read gave me as much enjoyment as this one did.

[Rob Underwood · Rating 4 out of 5]

Enjoyable read with good insider view of the making of Live and Let Die and the private life of its star. Some anachronistic terms and idioms, but as a snapshot of the early 70s it's fascinating. I would say there is a lot of name dropping but that is the circle Roger Moore lived in. He came to Bond already an international celebrity after starting in the TV series The Saint. A typical evening for Moore consisted of dinner out with Michael Caine and his wife and then a party at Sydney Poitier's in the evening before emceeing a charity event with royalty in attendance. He lived the life, that's for sure.